Before he was Galen Tyrol in Battlestar Galactica he was Master Bra’tac’s protégé in Stargate! Aaron Douglas joins Dial the Gate to explore the first science fiction franchise in his acting career and answer your questions!

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TRANSCRIPT
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David Read:
Hello everyone and welcome to Dial the Gate: The Stargate Oral History Project. My name is David Read, I really appreciate you being with me for this episode. I am so excited to have someone I have been looking forward to having on the show for a really long time now; one of my favorites from a couple of different television series, Aaron Douglas. You may know him as Moac or Jaffa in Stargate SG-1, but I know him and love him as Chief Galen Tyrol in Battlestar Galactica. Aaron, thank you so much for being here. It is a privilege to have you, sir. How are you doing?

Aaron Douglas:
Thank you for having me. I’m great. The preamble, just so everybody knows, we were trying to figure out how to get the thing to stop following me; that’s why we’re a little bit late. I have no idea what I’m doing with this stuff. I really should’ve brought my friend Michelle on to go, “Hey, press this button and it’ll stop you.”

David Read:
A big thanks to Michelle for bringing us together. How are things going by you? Anything noteworthy that we need to make everyone know about off the top? Any updates? What’s happening in your world, sir?

Aaron Douglas:
I just finished Season One of a show, a very exciting show, a huge show, something that I am so excited about. I can’t talk about anything other than that, other than the name, because they have announced me, but they haven’t announced who I’m playing. It’s this [Vought Rising fleece]. I was supposed to be wearing this today but spring has sprung and it’s so hot. I had this on earlier and I was sweating like I was standing on the surface of the sun. This is my cool swag from the show, Vought Rising. It is a prequel to The Boys. If you’re a fan of The Boys, you will love this. It’s sort of the origin story of the superheroes. I am a huge fan of The Boys so I am absolutely over the moon to be a part of Vought Rising. It’s very, very cool stuff. I hope that everybody’s gonna love it. I’m sure they will ’cause it’s the same people who made The Boys and they’re all brilliant and fabulous.

David Read:
It has a number of Stargate veterans in it, including David Hewlett.

Aaron Douglas:
Yes, my buddy Dave and I got to hang out a whole bunch of times in Toronto. It was great.

David Read:
He is something special. Is this as intense as the previous shows? Or does it let things chill a little bit? I doubt it. I’m speaking specifically in terms of the violence. This is also as much for adults as the previous shows were, I would imagine?

Aaron Douglas:
I would say yes. Without relaying any information, ’cause I don’t wanna get in trouble.

David Read:
No, I’m not gonna persuade you.

Aaron Douglas:
It’s so much fun to work on. It’s so great.

David Read:
Have they said anything about when it’s coming out publicly? I haven’t seen it. That’s still up in the air?

Aaron Douglas:
Yeah, not a clue. These shows take so long in post-production ’cause of the special effects and the vis effects and all of that kinda stuff. There’s a huge lag because there’s so many people working on computers, making this show look amazing, like The Boys. I have no idea. My guess would be probably not ’til the fall or next year, but that is just a random guess.

David Read:
When did you stop shooting?

Aaron Douglas:
February.

David Read:
OK, so we have a long way to go.

Aaron Douglas:
I think there’s a wait. The Boys final season just started airing two days ago, right?

David Read:
Yes, that’s right.

Aaron Douglas:
Yeah, so Season Five, the first two episodes of The Boys dropped on the 8th, I believe. Then every week until it’s done, so that’s gonna take us ’til June maybe? Sometime in June, I think. I don’t know the dates. I wait ’til everything’s done and then I watch an entire season in a day, so watch out.

David Read:
That’s what I do, too.

Aaron Douglas:
No spoilers out there. “No, don’t tell me what’s happening, ’cause I wanna go in and one rainy Saturday afternoon, watch ten hours of the show.”

David Read:
Mow it down.

Aaron Douglas:
Absolutely. Otherwise, I’m like, “What happened last week? Who’s that again? How does she know her?”

David Read:
My problem is I do that with whole series. I watched the first season of The Boys and then COVID hit and my buddies and I couldn’t get together anymore. It’s like, “You know what?” — I can’t believe I’m admitting this out loud — “I’ll just watch the show when it’s all over.” That’s not good for the show, but it’s how I prefer to watch it.

Aaron Douglas:
I totally agree. I love finding a show that’s done and been gone for a while and go, “I have 95 episodes of this? This is outstanding.” You find something that’s been off the air for a while and you go, “Holy…”

David Read:
I saw forests on your coffee mug and I immediately thought Twin Peaks, ’cause I did that with Twin Peaks.

Aaron Douglas:
I still haven’t seen Twin Peaks, but apparently, it’s great.

David Read:
You’ll be like, “Oh, this set the standard for everything.” Everything came out of this on some level, something that you love, including Battlestar, I’m sure, was taken out of that, out of lessons from that. It was so early on and I finally sat down and watched it about three years ago and I was like, “This is exceptional.” It is like nothing else on television and there’s only three seasons of it, so please add that to your list.

Aaron Douglas:
I will add that to the list.

David Read:
What about Brian J. Smith? Did you get to spend any time with Brian?

Aaron Douglas:
He is my new best friend.

David Read:
Brian is awesome.

Aaron Douglas:
We had a day early on when I joined the show and it was so cool ’cause “Hi, nice to meet you.” “Hi, nice to meet you.” There was that awkward pause and then we started walking and talking to each other and out of the blue he goes, “OK, I just gotta get this out of the way. I am a huge Battlestar Galactica fan and I am fanboying out right now so hard.” I went, “Buddy, that’s great.” We chatted and chatted and then it turned into Brian and I would go for dinner and we’d have these great evenings, go over to his house and play games. We watched the Super Bowl at his house actually, with most of the cast stuffed into his TV room downstairs at this house he was renting. There were seven people squished onto the couch and it was fabulous. I surprised him one night, Kate Vernon joined us for dinner. It was Brian, Kate and I and he was, “I can’t believe it.” We made him an honorary Cylon and he’s very pleased. He is the kindest man. He is a lovely, lovely human being and I really hope we get to do more things together. I cannot say enough wonderful things about him and how much fun we have together.

David Read:
Extraordinary inside and out and a good actor.

Aaron Douglas:
Phenomenal. Absolutely.

David Read:
He was the first that I met for SGU at GateWorld where I was working at the time when we did a lot of Battlestar coverage back in the day as well. We got to announce him and right from the word go, I was like, “There’s something special with this one. I don’t know what it is.” Even Paul Weber championed him early on. It’s been great to watch his career. The fact that he’s a theater guy, he was very happy in New York.

Aaron Douglas:
He’s tremendous in the show. He’s so good, so good. That show is so much fun to work on and everybody, cast and crew, is delightful. James Gunn has the no jerk policy and Jason Bateman has the no jerk policy and they have the no jerk policy. A fish rots from the head and the head is Jensen Ackles and he is the best. He is such a great number one for a show. It’s so important to have a good number one and you could not find anybody better than Jensen. The only thing I don’t like about him is he beats everybody at backgammon. He is a master backgammon player. He kinda does the, “Well, I don’t know. Well, I guess…. How do you play this game again?” and then mows you down. He’s been playing all his life. It’s fun. He’s tremendous, absolutely tremendous.

David Read:
Self-effacing, still waters run deep. Gotta be careful with these people.

Aaron Douglas:
Damn his handsome face. Exactly.

David Read:
That’s it. Man, how many, 17 seasons of The Winchesters? [Supernatural] Man oh man. Success comes to the best people, in some cases.

Aaron Douglas:
Not all.

David Read:
This is true. My understanding is that Stargate was one of your first gigs. Is that correct?

Aaron Douglas:
Stargate, the Moac, was the first thing I booked.

David Read:
It was the first thing you did?

Aaron Douglas:
The first film and TV thing I booked; I think I had done a commercial or two before that. It was the first thing that I booked and then two days later I booked something else that actually shot first. I think it was called Inspectors 2? I went and I did that episode of Stargate, which was really cool for me. I was a noob. I had no idea what I was doing, but I could fake it well enough, I guess.

David Read:
So, this is ’99, 2000. What was your life like around this time? Who were you? What were you trying to figure out? What was going on?

Aaron Douglas:
I’d finished high school and I thought I wanted to be a lawyer, I took a year off and I was gonna go back to school. I watched a movie called And Justice for All when I was very young, probably ten years old. I shouldn’t have been watching this show; I was way too young and in a family that really didn’t watch those kinds of shows. My uncle rented it and I was staying with my uncle and we watched this movie and I was blown away ’cause I thought that’s what lawyers do. They just run around screaming at people. “I’m out of order? You’re out of order. This whole damn courtroom’s out of order,” Al Pacino and Jeffrey Tambor. Phenomenal, fabulous movie. That’s what I thought I wanted to do, but now I realize I wanna be a lawyer on TV. One of my friends is a lawyer and he sits at a computer all day and he’s impossibly brilliant, so that also helps him. I became a floor layer. I’m a red-seal floor layer. I could come to your house and do your hardwoods and your carpets and I won’t ’cause it hurts and I’m too old now. I did that and then I quit that because my knees started to go and I started working for a sports nutrition company. I quit that and went to the William Davis Center, the Smoking Man from X-Files. He had an acting school. I went to that full-time for a year. Lucy Lawless was a couple of years before me.

David Read:
Don’t know who that is.

Aaron Douglas:
Nobody knows who Lucy is. Lucy doesn’t even know who she is. I finished that and one of the teachers pulled me aside. There were 12 people in the class and one of the teachers pulled me aside and said, “Don’t tell anybody else, but I think you have a chance to be really good at this and my agent would like to meet with you.” I thought, “OK, cool.” I got an agent right away and then I started auditioning and I worked at a restaurant. “What do you do?” “I’m an actor…oh, what restaurant?”

David Read:
You know who said that to me the other day? Peter Williams.

Aaron Douglas:
Really?

David Read:
Yeah.

Aaron Douglas:
I did that and then I started booking. I actually became a reader for some casting people and that sort of launched me into, probably back then, it would’ve been 70% of my resume was just end of the session. “Well, we don’t have a cop.” Didn’t like any of those guys that read for cop and then casting would point at me and say, “Well, how about Aaron?” “Oh, is he an actor?” “No, he’s not an actor. That’s why he’s reading off camera.” “Well, OK.” “Oh, yeah, Aaron, you’re good. You wanna do the cop thing?” “Sure.” Then you get 18 days later on some feature film. “Holy cow.” I did five $100 million movies in 2003.

David Read:
Wow.

Aaron Douglas:
It was crazy but I was just a guy with one line or guy with two lines. Then we did Battlestar miniseries.

David Read:
I think that was ’03, wasn’t it?

Aaron Douglas:
That was ’03, yeah, and then I was able to not work at the restaurant anymore, which was great. Now I’m here.

David Read:
Dan Payne speaks very highly of you.

Aaron Douglas:
Dan Payne, I loved him.

David Read:
One of my favorite humans on planet Earth. We have him back on tomorrow.

Aaron Douglas:
Fun, give him my best. He’s great.

David Read:
I will indeed do that.

Aaron Douglas:
Speaking of tall and handsome!

David Read:
Jeez. You almost never see him. He’s always under heavy prosthetics or as a robot. Season Three, that first episode was “Maternal Instinct.” Tony Amendola, Christopher Judge, I know I’m taking you way back there. Who were you at this point, in terms of figuring things out as a performer?

Aaron Douglas:
I had no idea what I was doing.

David Read:
Yeah?

Aaron Douglas:
I still don’t have a clue what I do. If people asked me to teach an acting class, I couldn’t do it; I have no idea what I do. I learn my lines in the rehearsal for the most part and say them as simply as I possibly can. When I did the acting school thing, they had various classes. There was a voice class and a movement class and a Shakespeare class and an acting for on-camera and a scene study class and stuff. We had different teachers who taught different disciplines and nothing really stuck for me. No light bulb went off, except for one teacher. His style of teaching, I went, “Oh, I get it,” and everyone else in the class went, “I don’t understand this at all. I just don’t get it.” I was the only one that this really resonated with, whereas everybody resonated with all the other teachers, to the point that I was, “God, I’m just gonna stand over here now. You guys go do that over there.” No, I really didn’t know. Perfect example is, the very first thing I shot, I got a call time, “Show up here, park your car and then they’ll get you on a bus and they’ll drive you over to the circus.” I’m like, “The circus? What? What, that’s not what this scene is.” I didn’t realize, for people who don’t know, for Sean Hayes’ sister Tracey, the circus is where they have all of the trucks. The hair and makeup trailer, the wardrobe trailer, all the actors’ trailers; that’s called the circus. As an actor, you just show up, you knock on the AD trailer and they go, “Oh, hey, good morning. Your trailer’s just over there. You want breakfast? I’ll knock when hair and makeup is ready for you.” I arrive at this parking lot and I get out of my car and I’m standing around and they’ve got these 15-passenger vans going back and forth, shuttling down the road to where we were filming. I sort of stood there and I saw all these people getting on the van, thinking, “I think I’m in the right spot. There’s a sign over there that says the thing.” People loaded into the van and left the door open and they’re all looking at me and the driver goes, “Are you coming?” I went, “Yeah, yeah.” He goes, “OK, jump in.” I jump in and I’m like, “What am I doing?” Everybody is either crew or background or something. I’m really early, way early for my call time. They get out and I get out and I’m standing around and everybody immediately starts going to where they’re supposed to be. I’m standing there and the driver says, “The background tent’s over there.” I went, “OK, well, I’m not background.” He looked at me, he went, “You’re not crew, I don’t think.” I could see the wheels in his head and he goes, “Well, the circus is over there.” I look, he’s pointing at all these white trailers and I’m like, “OK, thanks.” I’m like, “Circus? What? Still not right. Can’t be right.” I walk, I have no idea and I knock on the door. The AD opens it. “OK, AD, I get that, Aaron Douglas. It’s obvious, that’s where I am.” I knock on the door. I don’t know what I was expecting, but the guy opens the door and I’m like, “Oh… oh, am I?” He goes, “Hey” and he’s really not interested in talking to me at all. He’s just like, “Hey…” I said, “Hi, I’m Aaron Douglas.” “Oh, Mr. Douglas. Oh, sorry. Yes, of course. Come this way, this way.” He takes me and he goes, “Your trailer’s right here.” I go in and I’m sitting inside going, “I am so out of my depth. I don’t know what the heck is going on. I need to figure it out fast” and then I went to set. Film language is a completely different language from the language that we all use in our day-to-day lives. “Back to ones.” I’m like, “Back to ones? What the heck does that mean?” Anyways, I got through it. They didn’t teach any of this in the acting school.

David Read:
Of course not.

Aaron Douglas:
They didn’t teach call sheet, how to read it. They didn’t teach set terminology. They didn’t do anything of that. When I go back for my one day a year where I talk to the class, I bring in a breakdown, I bring in a call sheet, I bring in a script and I talk to them. “These are what these things are you’re gonna get.” You’re gonna go, “What is this?” I had not a clue. Now I’m going over to the Stargate, I’m like, “Holy crap. OK.” I walk onto the set, they put me in the costume and I go, “Well, this is cool, actually.” The first scene is Tony and I. Tony is the best man. It’s us coming through the gate and coming down the ramp and I’m holding onto him and he’s propped me up. I know this because Michelle sent me the clips, thank you Michelle. I’m coming down the ramp and I’m holding onto him like, “I’m dying. Ah.” I get to the end and they yell, “Cut” and Tony goes, “Kid, you can’t lean on me like that. I’m an old man. You just can’t lean on me like that.” I’m like, “Oh, no, OK.” Now I have to pretend to be leaning on him. We do the second take and the same thing; he goes, “You’re still leaning on me too hard, buddy.” I’m like, “Oh, I’m so sorry. I’m so sorry.” I didn’t know. You basically drape your arm and then do all the weight-bearing stuff on your own. The third take he was like, “That was great. Perfect. That’s good. OK.” I’m like, “I don’t know anything.” That was me, then, not having a bloody clue. On Battlestar, I still didn’t have a clue. I wing it.

David Read:
You gotta begin somewhere. How long had you been in Vancouver?

Aaron Douglas:
I was born here. When I was 10, we moved to a town called Creston in the Kootenays. For the 12th grade, my parents moved the family to a city called Kelowna, which is about a four-hour inland drive. After that, after I graduated high school and stayed there for a few years, I came back to Vancouver on my own. I’ve been here since, pick a number, 20, 27? 1997. No, you know what? Somebody’s gonna know this. I moved the day Lady Diana was killed in the car crash.

David Read:
1997, August 29th.

Aaron Douglas:
There you go, somebody would know. It was the only thing that we hadn’t moved into the truck, was the TV. We were sitting on the floor watching the news and watching all this go down and then the morning we’re waking up and we’re putting the TV in and we’re driving to Vancouver.

David Read:
August 31st. I apologize. Man, oh man.

Aaron Douglas:
August 31st. There you go.

David Read:
So, you’re well familiar with the city. I’m always curious to find out who is from out of town and who’s not. It can be such a culture shock, especially now, not so much then. You’ve watched the city explode around you.

Aaron Douglas:
Crazy.

David Read:
I’m sure it’s absolutely wild, but one of the greatest cities on planet Earth. They brought you back for Season Six, three seasons later. You were with Christopher Judge and I think Tony, again, if I’m not mistaken in that scene, another Jaffa. I’ve put on that costume with the turtleneck, the collar. It sucks. The pieces are falling off.

Aaron Douglas:
Especially in the summertime when it’s hot. You don’t get air conditioning on the stages so it’s like an oven and you’re standing in these rubbery things. That one I have less memory. It was wild watching that clip last night, going, “Oh my God, I’m a child,” It’s like my thinner younger brother. I have vague memories of filming this. I started sitting with it and going, “OK, I remember now. This happened, this happened, that happened.” I got the audition and I said, “I’ve already done this show.” They said, “Yeah, it’s Syfy, they don’t care.” “Oh, OK. All right.” I show up at Bridge Studios for the audition and I’m in the waiting room and there’s a bunch of guys just like me. I think there’s three guys in front of me and I think one guy behind me or something like that, or maybe two. You can hear the other people auditioning through the door and the other guys that are doing the audition are screaming like they’d be on set, screaming at Chris Judge, “Where’s the child?” I’m like, “Whoa, OK. I have a different take on this.” They went through one guy and then they went through another guy. You could hear them do the one and obviously they got direction, “Can you bring it down a little bit and make it simpler?” Young actors are like, “Make it simpler” “OK, yeah.” “Yell louder.” I was like, “This is so weird. OK.” Then they say, “Aaron, it’s your turn,” and I walk in.

David Read:
It’s Martin Wood directing this one.

Aaron Douglas:
Marty. I love Marty. He’s put me in nine of his movies; I’m his cameo guy. He brought me to Guam, that’s where I got this shirt. Operation Christmas Drop. I love Marty.

David Read:
Good guy.

Aaron Douglas:
He’s like, “Aaron, come and do this thing.” “OK.” Anyway, he was in there, producers were in there and thing they go, “Hi, Aaron.” Somebody starts to say to me, and I don’t know if it was Martin or not, probably was, he goes, “You know you don’t ha..” I went, “Yeah, no, I know.” They paused for a second and then they went, “OK” and they sat back. What I did, what shows up on camera, is what I did in the audition. I got to the end of the thing and they all sat there staring at me and then one of them smiled and said, “Thank you.” I went, “OK, have a nice day.” I went out and I got in my car and I was two blocks away. We had pagers back then, no cell phone. I had a pager, it’s my agent’s number, so I pull over and I go to a payphone… For you kids out there, a payphone is a phone that the public was allowed to use if you had enough quarters and they were on city streets. Weird, I know.

David Read:
Quarters were coins.

Aaron Douglas:
Quarters were coins, yes. There was no tap of a card, or your watch, or your phone.

David Read:
Money can be exchanged for goods and services.

Aaron Douglas:
I phoned my agent and he goes, “I don’t know what you did, but you nailed it so you got the part.” It’s the fastest from audition to cast of my career and it’s not even close. I was probably 15 minutes away from walking out of that room and obviously they went the next guy, the next guy and then told casting, “Hire him” and casting immediately phoned my agent, who immediately phoned me.

David Read:
Thank God for thin walls.

Aaron Douglas:
No doubt. When I can hear other people’s auditions, I will leave ’cause I don’t wanna hear that. I find it weird, unless I wanna hear how the reader reads it. I can hear the reader, “OK, that, OK, OK, OK. Yeah, OK.”

David Read:
I would think it would get into your head.

Aaron Douglas:
“I think I’m on the right track.” No, I can turn it off. When it’s bad, when you’re watching bad acting, or bad singing, or bad anything and it’s the cringe. There are some episodes of Seinfeld I can’t watch ’cause George Costanza is so incredibly cringey. I can’t. I can’t. There’s Curb Your Enthusiasm, I still haven’t watched that show because it’s nails up my spine. “I can’t watch this. I can’t watch this.”

David Read:
Interesting.

Aaron Douglas:
There’s a lot of auditions that have bad actors. I was keeping a tally for a while. I think I had read like 5,500 individual auditions, daily sessions for years in a row. That’s the best acting class I’ve ever had; just standing there watching people absolutely take a dump on themselves. I was like, “Ooh, this is not good.”

David Read:
Not all acting classes are created equal, Aaron.

Aaron Douglas:
No, exactly. It was weird watching those last night and going, “Man, I vaguely remember this, I vaguely remember that.” We shot while main unit went to lunch, we had their lunch to get this scene. We were on the same stage and we came in and we would rehearse while they were still filming.

David Read:
Is this “Redemption,” or were you back at Bridge Studios at SGC?

Aaron Douglas:
This was at the Bridge.

David Read:
So, this is “Maternal Instinct?”

Aaron Douglas:
This is the second one that I did. “Maternal Instinct,” with the Harcesis child?

David Read:
Yes, that’s the first one.

Aaron Douglas:
OK. We’re sharing the stage with main unit that’s shooting the next episode or something. We’d rehearse and the bell would ring and then we’d just stand there, they’re acting over here, acting over here, and “cut.” Marty would go, “OK, let’s do this, this and this.” That episode, apparently when they cut it together, it ran short. They needed one more scene; something to tell the story of, “we’re actually looking for this thing and we’ve got Teal’c and all of this.” We shot that so fast because we had to get out of there because main unit was coming back from lunch. That was like, “Thank you very much. Thanks guys.” I got to slap Chris Judge a whole bunch of times which was pretty awesome. I was worried that he was gonna fold me into a roasted turkey and bowl me down the road. He didn’t ’cause he was nice and he likes me.

David Read:
No, he’s a teddy bear. You have to go a long way to piss him off.

Aaron Douglas:
He’s a lovely, lovely man. We’ve had some evenings at conventions together and tears streaming down our faces laughing. He’s a great guy.

David Read:
How often are you recognized for Stargate as opposed to Battlestar? There’s a big Stargate fan base out there, particularly overseas.

Aaron Douglas:
Huge. I find I get it when I go to conventions. You will have people who come up and go, “Will you sign this please?” and it’s a Stargate thing. Then they say, “I haven’t watched Battlestar, I’m sorry.” I go, “I don’t care. That’s OK. Good for you. You’re missing out, but good for you. Hey, let’s talk about Stargate for a minute” and then they take off. It is particularly more overseas than it is in North America, for sure.

David Read:
I think that Battlestar is probably in my top three of all science fiction that I love. I’ve always wanted to ask, the reveal of you… Spoilers, everyone. If you have not seen Battlestar, stop watching.

Aaron Douglas:
It’s been off the air for 15 years. You know what? Enough.

David Read:
Did they only arrive at making you a Cylon at the end of Season Three, or was that already on their mind in Season Two when they were making him spiral through the thought process that he potentially was one as well?

Aaron Douglas:
No, from what I understand, what I’ve been told by my good friend, Mark Verheiden, who ran the writer’s room of Battlestar, between seasons, when they got picked up. Ron Moore would rent a house somewhere. They’d go to Tahoe or they’d go to Vegas or something and all the writers would come. They would all move into this place and in the morning, they’d get up and go, “OK, let’s break the story arc for Season Three.” I asked him one night, “What was your idea for the show?” He said, “I knew how it began and I knew how it ended, I just didn’t know the middle.” I went, “OK, that’s interesting.” He goes, “Four or five years, I think, I could tell the story.” They would go and they would break the story and then he would show up with ideas. He shows up at the Season Three story break thing and goes, “I wanna reveal the final five Cylons.” Everybody went, “Wait a second. ‘Cause we have one, seven. There are five more. OK, so is it bringing people in?” “No, no, no, they’re within the fleet already.”

David Read:
Something’s moving the chess pieces above them. That’s the only reason that would make sense.

Aaron Douglas:
You can’t just start introducing new people, no. Trucco, mm-mm [fist]. Apparently, what they did is they took everybody’s 8×10 and stuck it up on a wall and went, “Already Cylons, already Cylons, already Cylons.” They would point to one and go, “What about her? Makes sense because of this and this and this. Doesn’t make sense because of that, that, that, that, and that. OK, then that’s a no. We’ll put it over on the no wall.” They narrowed it down and narrowed it down and narrowed it down to us. Ron kept Kate Vernon in his back pocket as the extra-extra one. They would break the story arc for the season; they’d create an outline. “Every character’s gonna have this happen to them. Chief is constantly gonna get emotionally punched in the face.” “Thanks guys.” They settled on that. They didn’t tell us until the day of the read-through for that episode. They had heard some rumors and they took the four of us aside and said “OK, here’s some extra pages.” We went, “Whaaaat?” It is so interesting because you never could get away with that nowadays. This is before social media and all of that kind of stuff and leaking and emailing. We would get physical copies of the scripts; it didn’t come digitally. Nowadays, you get a link to a website. You punch in your information; you punch in the code they’ve given you and it shows up on your laptop. You cannot share your screen, you cannot print, you cannot screen capture, you cannot do anything. Anytime you wanna revisit the script, they even do this for sides and call sheets, you have to go and you have to log back in and then they send you a code. It’s so brutal. I would come home and a teamster has been by and there’s an envelope with three scripts printed off, not even watermarked. These things were flying all over the set. Nowadays, they give you sides for the day and they’re watermarked. I did a show recently; there was no paper sides. You had to have it on your phone or your tablet or whatever for all your dialogue. Weird. I guess we’re saving trees.

David Read:
There are some advantages. I know actors who are devastated that they can’t go in to read. You can in some cases now, but you have to ask for it. These self-tapes are just killing ’em ’cause they’ll send in 50 and hear back from 1. In a lot of cases, you don’t even get a thank you for having submitted; you just assume that it’s been processed. On top of that, you can’t show that you can take a note and pivot. You just have to send it off and go and pray for the best.

Aaron Douglas:
For me, I prefer the home self-tapes.

David Read:
You do? OK. I wasn’t talking about you then.

Aaron Douglas:
No, no, you’re not talking about me. I like getting an audition and doing it immediately so it’s off my plate. I would get an audition today, my agents would say, “It’s due Wednesday morning at 9:00.” I will do it this afternoon. I’ve turned auditions around and had it back to them within an hour. I have a photographic memory for dialogue, I can read a scene twice, it’s a very nice gift, thank you. I try to get it done as quickly as possible, as opposed to you have an audition, it’s Monday at 4:15 and it’s all the way downtown at this casting director’s office where there is no parking. They’re always running late so you can never plan anything, you can never plan your day because you’ve got this thing sort of hanging above your head all day long. You get in the car and there’s an accident on the bridge and then there’s this and then there’s that and then you get there and they’re 45 minutes behind. You start looking around the room going, “What was your call time?” “I was 3:45.” “Oh, OK, well, it’s 4:20 right now.” There’s still five people in front of me. “Oh, perfect. All right.” Everyone’s like, “Sorry, we’re running a little late, OK.” Everybody goes, “No, no problem.”

David Read:
We don’t have lives.

Aaron Douglas:
Then you get the Chatty Cathys in the waiting room that go, “Hey, Aaron. What’s going on, man? What are you working on?” “I’m here for a job, man.”

David Read:
I’m doing this thing.

Aaron Douglas:
I’m here to work. Please, don’t talk to me, leave me alone. I much prefer the home self-tape and I trust that casting is watching my tape because my agents tell me they do. Casting is usually requesting that I’m taping for something, so that tells me that they wanna see what I’m doing. You never hear feedback unless you got it, or if you really, really seek it out, but then your agent’s just gonna bother casting people. I do it, I send it off, my agents come back with an email that says, “Thanks, Aaron” and then I put it outta my mind. Sometimes they’ll call me three weeks later and go, “Hey, you got an offer on this.” “What was that again?” I have to scroll back through my emails and, “Oh, OK. Sure, yeah.” The only one that I was really hanging on was Vaught Rising. I had read early for a character and didn’t get it. Casting came back a few episodes later and said, “The showrunner loves Aaron, really wants him for something. Would it be OK, would he mind reading for this?” I’m like, “I will read for anything for this show, 100%.” I read for that, didn’t get that. Now I’m going, “Oh, no.” He circled back one more time and said, “OK. Please, please ask if Aaron will read for this character.” I went, “Yes, of course.” The character is the best of the three. Had I gotten the other two, it would have been awesome, but not as cool as this one. That’s when you get that phone call – my agents only call when something good has happened, typically. It’s like, “Hi, Aaron. It’s Mor-…” “Hey, Morgan. Get to the point. Get to the point.” He goes, “You are the new blah, blah, blah on Vaught Rising.” I jumped up and down and spun around in my room and threw the phone and picked it up and, “I wanna crawl through the phone and hug you right now.” Otherwise, it’s just, “What show was that again?” Which is probably not a good thing to say.

David Read:
Work is work.

Aaron Douglas:
People are very excited.

David Read:
You don’t have to be a fan of everything that you’re on, you can’t be. It’s churn and burn sometimes, man. There’s a process to this. You guys are magic makers and it’s like, “OK, what’s the next act, please?” There’s nothing wrong with that.

Aaron Douglas:
No, no, it’s what we do. We audition and wait around for a living and being on set’s the gravy.

David Read:
That’s it, exactly. I’ve got some fan questions for you.

Aaron Douglas:
Sure.

David Read:
MARDIGRASW wants to know, “what are your current thoughts on AI and Hollywood?”

Aaron Douglas:
I think it stinks. I’m really curious to see where it’s gonna go. It’s costing people jobs, which really sucks. Not just in acting; it’s costing crew people jobs. This affects people. You go to Warner Brothers’ lot and there’s sound stages and stuff and then there’s offices and then there’s this whole area of buildings with computers and people inside creating these worlds and these universes. They’re just gonna punch that into a computer and it’s gonna churn it out in an hour. I remember going and visiting on Battlestar, they had post people that were on the lot here in Vancouver, they also had them down in LA at the Universal lot. I would go to visit them and it was wild because they sit inside in these dark rooms all day long, you open the door and some sun comes in, it’s like, “Ah!” There’s a bunch of vampires or golems and they’re like, “Ah.” They’re working tirelessly at these things. Battlestar, the visual effects still stand up. These people basically did it for the amount of money that they found picking up pop cans on the side of the road, ’cause it wasn’t really a large budget item, but they turned out amazing stuff. Also in the one in Vancouver, this is 20-plus years ago, when they finally would finish something – computer people will understand this far better than me – it has to render. Rendering can take hours, days.

David Read:
Frame by frame.

Aaron Douglas:
They’d hit start and they’d go home and they’d come back and the thing ran for three hours and then there was a glitch and it stopped.

David Read:
It crashed.

Aaron Douglas:
They’re like, “Oh, no” and they have to start at the beginning. That happened a couple of times. One of the wizards figured out an alarm, a sound that would go off, and someone had to stay and sleep overnight just in case the alarm went off so they could get up and go, “Fix, start again.” Beep, beep. I thought, “You’re literally not going home. You’re just sleeping until the computer goes, ‘Wake up, it’s stopped.'” I have profound respect for those people. Getting back to the AI thing – it’s allowing creative people to be creative if they don’t have the finances. There are all these weird political ads that I think are really quite funny; they’re taking jabs at people, left and right, down in the US. I’m sure it’s coming to Canada or I’m just not paying attention. Those are fun and funny, but at the same time, not really, eventually it’s gonna be, “No, no, no, no, he really said that.” It’s like, “No, no, that’s AI.” “No, I don’t think so.”

David Read:
There’s no way to know, at a certain point.

Aaron Douglas:
I don’t think AI would ever be able to truly capture the human emotions and all of that. There’s something about looking in someone’s eyes and seeing depth there; there’s something inside that thing. You can’t jam in a soul or a spirit or whatever that thing that we call that other thing is into a computer-generated thing. It just doesn’t exist. You need an actual heartbeat and an actual system of sadness and regret and doubt and happiness and joy and all of those things. Otherwise, it’s performative BS, in my opinion.

David Read:
I went over to Phoenix and visited my best friend and his family. He’s got a year-and-a-half-old, I picked him up and held him and he looked at me and he said, “iPad.” I’m like, “OK, great. All right.” We plugged him in, and then the other one, we plugged her in. We put this thing on. We’re watching this video and I look over to Zach and I look at the kid. Neither of them are watching, they’re all on their primary screens. We’re watching this thing, I’m like, “Can we turn this off please?”

Aaron Douglas:
Why are we watching this?

David Read:
They’re not paying attention to it. I think what’s going to happen is that the computers won’t need to become more like us; the children will become more like them.

Aaron Douglas:
That’s a really good point. It’s a good thought.

David Read:
I think that we’re seeing that happen. We can’t get them to make eye contact; they’re terrified. They’re terrified of human contact and of making mistakes. It’s like, “It’s OK. It’s OK. Just do something. What you find out is that you can learn from it.” They’re terrified. We’ve opened a can of worms that will be the equivalent in a few years of us, in terms of us realizing this, of handing them packets and packets of cigarettes. It’s not gonna be boring!

Aaron Douglas:
We’re the last generation that knows what life was like before all of these things. When you wanted to get ahold of your buddy, you had to phone the house. If there was a party line, for those people who know what a party line is, I’m sure you do, that means the neighbors are talking to different neighbors and you have to wait for them to hang up because you’re sharing the one phone line that goes into your community. Sometimes they would be on there for a really long time. It’s like, “Steve, can you get off the phone for five minutes? I gotta call my mom,” or whatever. You had to phone and then it’s like, “Hi, Mrs. Panacopoulos. Is Dave home?” “He’s just outside.” “OK. I’m gonna come over. Can you tell him I’m walking over in five minutes?” “OK, Aaron. See you soon.” It’d ring, ring, and it rings out. “Dave’s supposed to be home. I don’t… Ah.” Then Dave was home, he’s like, “I’m not answering that.” “Come on.”

David Read:
Matt4812 wants to ask about Dirk Gently. “Was it your choice to play a hunched guy with a speech impediment, or was that in the description of the character and you learned to figure that out?” Good question.

Aaron Douglas:
That’s a really good question. I don’t normally make choices. I read a script and the voice starts reading out loud in my head, and I go, “OK, that’s what he sounds like and that’s what he does.” I auditioned and the audition that I got was this big monologue of a rock star. I did it, in my head I went, “OK, this is like a rock star.” It was hair-band rock, like Paul Stanley. “OK, all right, so how would Paul Stanley read this? Paul Stanley from Kiss.” There I am, I do it. I was away, I was in Texas or something. I had this audition and it had to be done before I got back. I was wandering around this convention going, “Does anybody have a camera I could read?” I met this guy, Aaron Michaels, who was there as part of an improv troupe. He was like, “Hey, I’ll help you.” I said, “That would be so great. Thanks.” We went and found this empty room way back in the back of the hotel and he had a camera with him and he recorded it for me. I booked it. Now I think that every time I wanna book something that I really want, I need to go find this Aaron guy. He was great. He downloaded it and set it up and sent me this file. I read it like Paul Stanley and then I get to the read-through and I get the script. We’re doing the big read-through for BBC America and all these execs are there. I’m doing it the way I did it and I went, “This doesn’t sound right. This is weird.” It’s not who he is. Paul Stanley’s been shoved into Paul Giamatti’s body, is what I thought. I went, “No, this guy thinks he’s this in his head, but in real life, he’s just [groaning]” I showed up on set on day one and I walked up to Dean Parisot, who was directing, awesome guy. If it wasn’t him, I probably wouldn’t have gotten away with this. I walked up in Video Village and it was him and Max sitting there, another producer, and I said, “Hey, I have thoughts on this.” Previously, I had gone for a hair, makeup, wardrobe test. It’s where they showed me the giant fur coat, which I actually have. Thank you, Michelle. I said, “Hang on a second. This guy needs to be some deformed creature. I would think my hair should be like this and I want those big ’80s pedophile glasses, like something Ted Bundy would wear. I want mom jeans.” They said, “No, we really like these ideas.” I get to set and I walked up to Dean and I said, “I think this guy, he’s not this grandiose guy. Inside he is, but outside he’s not. I’ve got a voice and a little bit of a walk and stuff like that.” He goes, “OK. Do it. Do it. Do it.” I put the glasses on and I run them down to my nose and I bent over like this and I looked around. I said, “Where’s ******?” He went, “I love it. I love it. I love it. There it is. That’s him.” He said, “Great. Great. Yep, nope, let’s do that.” I remember shooting that day and then shooting other days with him and after he yelled cut, he’d come over and he’d be laughing and laughing and go, “I love you so much, man. I love you so much.” I said, “OK. Great. Thanks. I’m glad it works.” It’s funny because three or four episodes in I get a call from one of the producers that says, “It’s really not working. You need to be the creepy guy next door that nobody really suspects.” I’m like, “What?” He’s like, “if George Clooney lived beside you, but he was a Bond villain.” I went, “That’s not what this is. We’re halfway through the season; I can’t really change.”

David Read:
What do you do in a situation like that?

Aaron Douglas:
I went, “OK.” I called my agent and I said, “What the hell is this?” He said, “I don’t know. Lemme call.” He called around and they were like, “It doesn’t quite work.” I went, “OK.” I show up on set the next day and one of the other actors had actually gotten the same note and I called her. I went for a big walk around my neighborhood here and we were both like, “No. That’s a dumb note. I think we’re gonna keep doing what we’re doing.” I kept doing what I was doing and then suddenly, it was like, “Those changes you made were perfect. It’s amazing right now. They love it.”

David Read:
Whatever, man. You know what?

Aaron Douglas:
BBC America loves it. I went, “OK, great, I’ll keep doing it.” BBC America and Netflix flew up, ’cause Netflix had bought it from them. They flew up all these execs and they got to set and they were like, “We wanna meet Aaron. We wanna meet Aaron.” So, “Hey, Aaron, come over here. These people wanna meet you.” “Hey, nice to meet you. Nice to meet you.” They said, “Our two favorite characters on the show, other than Elijah and Sam, are you and Dave Lewis. Love you guys. Love your characters. What you’re doing is mind-blowing.” I went, “OK, great.” That producer came to me later and said, “They love it. What you’re doing is amazing. The changes you made are perfect.”

David Read:
What changes?

Aaron Douglas:
I didn’t change a thing. Not a thing. I don’t know what I would’ve done, I’d say, “Well, what? Are you gonna go back and reshoot the first three episodes?” You’d have to.

David Read:
You’d have to do reshoots. “We legitimately appreciate this approach, but that doesn’t fit into the narrative,” that’s what that is. But otherwise, stand back and let you create a peculiar character.

Aaron Douglas:
All the other characters in the show were nuts so why wouldn’t this guy be a lunatic too? Anyways, that show was one of the weirdest shows to film; no idea what was gonna happen. We sent six people to the hospital in eight episodes ’cause we were going so fast. When I watched it, I went, “Holy crap, this is really good. It’s like Sherlock on cocaine. This is really quick.”

David Read:
I’ll check it out. I’ve heard about it for years, but I’ve not seen it.

Aaron Douglas:
It’s the roller coaster; tick, tick, tick, tick, tick for a few episodes and then it suddenly goes…

David Read:
And then boom.

Aaron Douglas:
‘Cause the time jumps. Once you get over the top, it goes whoosh and you go, “Holy crap, that’s what this is.” It’s really, really fun and my character is really, really fun. There’s a monologue I have in there that I have to do for my friend every once in a while. I have to put on kind of glasses. I have the glasses too, wait till you see those. It’s a great show. The wildest thing was I wrapped that show at 11:00 PM on a Tuesday and I had to be on set for my first day of a show called Imposters the next morning. I had a 5:00 AM call. I went from Gordon Rimmer to haircut, suit, bank manager, running around yelling at people, all stern and stiff-backed. In seven, eight hours, I went from this raging lunatic to a raging lunatic, but they look different.

David Read:
Is it a switch you can flip, or is it like a splash of cold water?

Aaron Douglas:
No, “OK, this is different now.”

David Read:
“This is different.”

Aaron Douglas:
“Now I’m this guy.”

David Read:
“This is what I do.” Wow.

Aaron Douglas:
This is what I do. Like I said, I don’t really plan things; I don’t put much thought into it. Gordon Rimmer was a bit of a thought process, but the guy at the bank, I do that in my sleep. That’s just a pissed-off middle-aged chubby guy yelling at people. That was the chief… before he got fat.

David Read:
Do you think Battlestar should come back or do you think they should leave it as-is?

Aaron Douglas:
No, leave it alone. Leave it alone.

David Read:
Even Sam Esmail? I love Sam Esmail. I don’t want anyone to tarnish what came before. Tarnish is not the right word, I don’t want them to offset it. What you created was so special.

Aaron Douglas:
If he eventually gets it going again, it won’t include any of us. The directive I was told was he asked permission, and permission was granted given he lives outside of… He’s in our universe, but not of our universe.

David Read:
It’s Battlestar, but it’s not Ron Moore’s Battlestar.

Aaron Douglas:
You cannot use any of us. You cannot use any characters that Ron created, or his people created.

David Read:
That’s probably for the best.

Aaron Douglas:
Probably for the best, although I’d like to do more with the Chief.

David Read:
To protect that reality. Absolutely. He went off and he did his thing. He gave us some of the greatest engineers that man has ever had. We both know this to be true. We know where the Highlands are, come on.

Aaron Douglas:
Yes! Which was one of my favorite ad libs. I ad libbed a lot in that show.

David Read:
You ad libbed that?

Aaron Douglas:
Yes!

David Read:
Awesome!

Aaron Douglas:
As written, because I am of Scottish descent.

David Read:
My God. “Ye cannae the laws of physics.”

Aaron Douglas:
As written, it was, “I’m gonna get a ride, the last raptor out is gonna drop me off on an island off the northern coast. It’s cold, but I like the cold.” I said to Ron, “Is it Scotland?” He said, “No, I was thinking Vancouver Island ’cause it’s an homage to Vancouver and BC.” I said, “Can it be Scotland? My grandfather would really like that. Even though my grandfather has passed away, my grandfather would still like it, I know.” He said, “Sure. If that’s what you wanna have in your head.” So, I said, “It’s up in the Highlands. It’s cold, but I like the cold.” As soon as they threw in Highlands, Ron went, “Yeah. OK.”

David Read:
It’s perfect.

Aaron Douglas:
I snuck it past the bully. It was great. What I’d like to do, and I think I should crowdfund this ’cause I think this is a really good idea. I think we go and do a documentary in Scotland where you catch glimpses off in the mist of a guy in green PDUs and disappears into a thing. You have old men that come and tell the story of how they were lost as a boy out away from the farm and they were met by the Chief and this chief is this mystical figure. He’s like the Loch Ness Monster or he’s a Sasquatch or he’s the Yeti or he’s whatever. The Chief guided him home, got to the crest of the hill and said, “There’s your home. You’re safe, young man.” They’d go home and “I remember meeting the chief” and you get all these people, they’re like, “I’ve seen the Chief.” You walk into a bar and there’s a bunch of empty whiskey glasses there and the bartender’s like, “You just missed him, he just walked out the back.” It’s this camera crew and producer that’s wandering around looking for the Chief and we interview people. We interview actual historians that can talk about it and we write the mythology of it. He’s this mythical figure that still lives way up in the Highlands of Scotland and he’s built himself a castle and he makes whiskey and he wanders around bothering the cows and the sheep and Highland cows. I think it would be great. I think it would be a very fascinating sort of pseudo-doc of legends and myths and monsters and the Chief.

David Read:
I love it. I’m only gonna keep you for a couple more minutes. Are you aware of the fan film that fans have been wanting to do for years? I haven’t heard about it in years.

Aaron Douglas:
No.

David Read:
It explains all of the Greek mythology in our universe. A group of travelers, of the 50 billion people that were wiped out, some still survived in the 12 colonies, brought a copy of the Oracle of Delphi with them on a computer and made it to Earth following Galactica’s path and embedded all of the modern culture, the Greek culture that we have now, but arrived several thousand years later. That was always my issue; you’ve embedded all of this in our society and then put it back 150,000 years. There had to have been a subsequent generation that carried that mythos with them and that’s what this fan film was to have done.

Aaron Douglas:
That’s very clever.

David Read:
They have gone and taken all of the Greek mythology and brought it with them, but ultimately did the same thing that Battlestar did. They abandoned their technology when they arrived, but the culture around the 12 colonies still persisted. That made a lot of sense. There was something so romantic and attractive about that to me; that sooner or later others would have eventually followed, which is why Greek culture and ultimately colonial culture still persists with us.

Aaron Douglas:
I think those people – fire it up. Let’s go. I’m on board. You got one here. You got your Director of Cast. They’ll get on board. 100% they will. I know they will. If I bake bread for Grace, she’ll come and do anything.

David Read:
I’ve heard she’s wonderful. I’ve been trying to get her on the channel for ages now, ’cause she started off really young on Stargate too.

Aaron Douglas:
She is the best. She’s lovely. They all are. It’s the only cast I keep in touch with, from all the shows I’ve done.

David Read:
Last question for you. BBBO68, “do you still enjoy German beer?”

Aaron Douglas:
Ha! Yes. Of course. Especially when in Germany.

David Read:
Some beers don’t travel well. Guinness doesn’t travel well.

Aaron Douglas:
No.

David Read:
Aaron, this has been tremendous.

Aaron Douglas:
It’s been fun.

David Read:
Thank you so much for spending an hour with us. I have been looking forward to this for a long time. You really made my month.

Aaron Douglas:
Thank you.

David Read:
Meant a lot to have you.

Aaron Douglas:
Thank you.

David Read:
There’s more Stargate on the way.

Aaron Douglas:
They’re rebooting it.

David Read:
They are indeed.

Aaron Douglas:
That’s right.

David Read:
Main filming is gonna be in London, but we need some Canadians in there for sure because that’s where the show is from.

Aaron Douglas:
I would imagine they’d probably come over here for exteriors, or are they just setting it in a whole new place?

David Read:
It’s being filmed globally.

Aaron Douglas:
Somebody’s spending money. Ooh. Good for them.

David Read:
I would suspect seven or eight million an episode.

Aaron Douglas:
Dude.

David Read:
Easily. ILM is involved and they brought in Christopher Nolan’s production designer, Nathan Crowley. It’s good stuff.

Aaron Douglas:
It’s so nice to work on a show where money really isn’t the issue. It’s so nice. This Vaught Rising thing, they will put every dollar on the screen and whatever needs to happen to make it the best it can be, they will do it. They step right up and go, “Yep, we’re making this thing awesome.” You get other shows that are just like, “Holy moly, come on. You can’t get one more grip so that that person doesn’t have to do all the running back and forth? Come on.”

David Read:
There’s a big disparity there. When the show comes out, will you come back on?

Aaron Douglas:
Yeah, I’m 100%. I’d love to. I am dying to talk about this character. Dying.

David Read:
I can’t wait to talk about it too.

Aaron Douglas:
The people on the show know, the people in my family know, some of my friends know, but not all of them. I don’t tell people ’cause I know people who will tell people.

David Read:
You gotta be careful.

Aaron Douglas:
That’s it. You keep the lid on that ’cause I wanna go back and work with Brian some more and have more dinners.

David Read:
Absolutely. Great guy. Aaron Douglas, so say we all.

Aaron Douglas:
Thank you, everybody. Be well.

David Read:
Be well, sir. My name is David Read, you’re watching the Stargate Oral History Project. If you enjoy Stargate and you wanna see more content like this on YouTube, do me a favor, click that Like button, please. It does make a difference with the show and will continue to help us grow our audience. Please also consider sharing this video with a Stargate friend and if you want to get notified about future episodes, click Subscribe. Giving the Bell icon a click will notify you the moment a new video drops and you’ll get my notifications of any last-minute guest changes. We have a number of episodes coming up this season moving forward. We have Dan Payne who’s gonna be joining us tomorrow at 9:30 Pacific Time and then Kristen Dalton, Ana from “Resurrection,” she’s joining us April 12th at 3:00 PM Pacific. My tremendous thanks to my moderating team; you guys are the best. Marcia, Raj, Lockwatcher, you guys pull this out every single episode that we do live and it means the world to me to have you. My name is David Read for Dial the Gate, I appreciate you tuning in and I’ll see you on the other side.